#into the woods on broadway 2022

[puppetdaily]

Milky White from Into the Woods on Broadway, 2022

[theatreism]

the roof, the house, and the world you'd never thought to explore

[its-your-girl-geekerella]

INTO THE WOODS WON.

This is my absolute favorite musical.

That being said, I seriously doubted that it would win, especially compared to something like SIX.

I'M SO HAPPY. Ok, I'm done.

[onlyanglrryy]

i guess this is goodbye, old friend

today, broadway loses it's best revival since Falsettos in 2016. cannot believe it's ending this soon.

[notevengrayson]

look at this and tell me its not perfect. ill wait

[former-ceo-of-homeschooling]

Can't wait for all the Hamilton/Into The Woods crossovers

Into The Woods 2022 has an amazing cast!! Yall should listen to it

[broadwaydivastournament]

Broadway Divas Tournament: Round 1D

This is a Titan vs. Titan fight and I apologize for nothing. I woke up and chose violence throughout this entire poll.

Seven-time Tony nominee, two-time winner Bernadette Peters (1948) has a sixty-plus year stage career of monumental proportions. Considered the foremost Sondheim interpreter, their collaborative works include Sunday in the Park with George (1984), Into the Woods (1987), Gypsy (2003), and Follies (2011). She has a thriving concert career, and was a co-founder of the beloved Broadway Barks event each year in Shubert Alley. She has an honorary third Tony (Isabelle Stevenson Award) for her outstanding advocacy and philanthropy.

Eight-time Tony nominee, three-time winner Patti LuPone (1949) has a staggering fifty-plus year stage career. Award-winning roles include Eva Peron in Evita (1979), Gypsy (2008), and Company (2022). She has toured the US with her wildly successful concert and cabaret acts, and will kill you on sight if she sees a cell phone in the theatre. Patti was NOT Norma Desmond on Broadway, and because of it, is the proud owner of the ALW Memorial Pool. She is no longer a member of Actors' Equity.

PROPAGANDA AND MEDIA UNDER CUT: ALL POLLS HERE

Pictured Annie Get Your Gun (Annie Oakley), Gypsy (Mama Rose), A Little Night Music (Desiree Armfeldt)

"Do I even need to write propaganda for these women? Do they not speak for themselves? Very well. Bernadette Peters in Cinderella (1997) was my very first, official, undisputed gay awakening. I was three, and enamored with the stepmother. This would prove to be a blueprint in my life, and well, here we are, twenty-some-odd years later, with a thing for stage actresses who play redheaded stepmothers in various Cinderella adaptations. It's a surprisingly common phenomenon."

Pictured Annie Get Your Gun (Annie Oakley), Gypsy (Mama Rose), A Little Night Music (Desiree Armfeldt)

"This woman can breech the sound barrier. The reverberation she gets on that one note in her Anything Goes Tony performance physically rearranges every atom in my body every time I hear it. Patti is THE definition of a Broadway Diva, with more than just a little touch of star quality. Her 54 Below show was an absolute riot from start to finish."

-photo submitted by anon.

(Please note, dear voters, that the above quote is from a clickhole article, and Patti LuPone never actually said it, but it would be on-brand of her if she had.)

[glimeres]

Into The Woods (2022, Broadway) - Digital Booklet Pics

[jgroffdaily]

Broadway Box Office: ‘Merrily We Roll Along’ Ends Run On New High

The revival, starring Daniel Radcliffe, Jonathan Groff and Lindsay Mendez, says it had the highest grossing week ever for any Steven Sondheim musical on Broadway.

Merrily We Roll Along closed out its Broadway run with a new high of $2.77 million, which the production says is the highest grossing week ever for any Stephen Sondheim musical on Broadway.

The revival, starring Daniel Radcliffe, Jonathan Groff and Lindsay Mendez, ended its run July 7, after opening at the Hudson Theatre in October 2023. The revival has continued to break box office records at the theater and has seen a particular rise in grosses in recent weeks, after the production won best revival of a musical at the June 16 Tony Awards, where both Radcliffe and Groff also took home trophies, and as it neared its closing date.

Capacity has been at 100 percent every week of run. And the average ticket price has also increased, alongside its popularity, to reach a new high of $357.94 in its final week.

While Sondheim musicals did not traditionally fare well at the box office in their original runs, there has been a resurgence in the popularity of his shows, and their grosses, since his death in November 2021.

Recent examples include the 2023 revival of Sweeney Todd, starring Josh Groban and Annaleigh Ashford, where grosses hit a high of $2.26 million across a seven-show week around Christmas, and the 2022 revival of Into the Woods, which hit a weekly high of $2.1 million in August 2022.

The revival, directed by Maria Friedman, recouped its $12 million capitalization in March 2024. During the final weeks of the run, the show producers raised up to $4 million to professionally film the production. The filming was done “for posterity,” according to a production spokesperson, who also added, “We’ll see what happens.”

[soapster13]

I need help finding Cabaret West End audios/videos

Looking for:

*Cabaret with Aimee Lou Wood and John McCrea

*Cabaret with Callum Scott Howells and Madeline Brewer

Cabaret with Fra Fee and Amy Florence Lennox

Cabaret with Adam Lambert and Auli’i Cravalho

* = most wanted

I have to trade: (all are audios)

Wicked (West End): November 2023, Alexia Khadime as Elphaba, Lisa-Anne Wood u/s Glinda

Six (West End): May 2024, featuring 3 alternates: Hannah Lowther as Howard, Naomi Alade as Boleyn, Gabriella Stylianou as Seymour. Main cast: Nikki Bentley as Aragon, Reca Oakley as Cleves, Janiq Charles as Parr

Romeo & Juliet (West End): May 2024, Tom Holland as Romeo and Francesca Amewudah-Rivers as Juliet

Rogers & Hammerstein 80th Anniversary Concert: My Favorite Things: December 2023, featuring: Aaron Tveit, Joanna Ampil, Michael Ball, Maria Friedman, Daniel Dae Kim, Audra McDonald, Julien Ovenden, Lucy St. James, Marisha Wallace, Patrick Wilson. Special Guests: Andrew Lloyd Webber and Rita Moreno

Les Misérables (West End): April 2024, Milan van Waardenburg as Jean Valjean, Stewart Clark as Javert

Cabaret (West End): February 2024, Cara Delevingne as Sally Bowles and Luke Treadaway as the Emcee

Cabaret (Broadway): Eddie Redmayne as the Emcee, Gayle Rankin as Sally Bowles, Bebe Neuwirth as Fraulein Schneider

Hadestown (West End): May 2024, Dónal Finn as Orpheus, Grace Hodgett Young as Eurydice and Melanie La Barrie as Hermes

Hadestown (Broadway): July 2024, Jordan Fisher as Orpheus and Maia Reficco as Eurydice

A multitude of Moulin Rouge Audios

Moulin Rouge (West End): Jamie Muscato’s Last show (Oct 14, 2023)

Jamie Muscato in Moulin Rouge September 2024 (good quality audio)

U/S Christian Davide Fienauri May 2024

Dom Simpson as Christian November 2023

Broadway Moulin rouge

Aaron Tveit, Natalie Mendoza May 2022

Derek Klena and Tasia Jungbauer as Satine May 2023

Misc Moulin Rouge

Boston 2019 with Aaron Tveit as Christian and Karen Olivo as Satine

Tour: Connor Ryan as Christian

Please please let me know if you have any Cabaret west end audios/videos!! 🫶🫶

[foggybear42]

omg i swear im not a musical theatre elitist but omgggg the 2022 broadway cast recording of into the woods is actually unlistenable to me. i cant do it im so sorry

[eddieredmayneargentinablog]

New! SPECIAL FEATURES Eddie Redmayne First Played the Cabaret's Emcee in School, Now He's Doing It on Broadway.

The actor is newly Tony nominated for his nihilistic take on the iconic character.

By TALAURA HARMS , Playbill, May 10th, 2024

📷 Heather Gershonowitz.

Eddie Redmayne is gathering tips. As the Tony and Oscar-winning actor was opening a Broadway musical this season, he was also trying to figure out the best ways to navigate New York City for the six months that he’ll be in the show. His wife and two young children have joined him from London. They’re currently looking for ways to spend summer in the city. And speaking of summer, Redmayne is concerned about keeping his voice in good working order in a city with more air conditioning than he’s accustomed to having.

“I’m accumulating a little handbook of ‘The Survivor’s Guide to Broadway,” Redmayne laughs. “I’m a passionate lover of New York, so any excuse to come here…I’m thrilled.”

The excuse—and it’s a pretty good one—is Cabaret at the Kit Kat Club, which opened April 21 at the August Wilson Theatre. Redmayne reprises his role as The Emcee in the revival of the classic John Kander, Fred Ebb, and Joe Masteroff musical. Rebecca Fracknell directs the production, a West End transfer that won seven 2022 Olivier Awards, including one for Redmayne’s performance. The production has been a hit in the London, where it is currently still running.

Redmayne is the only member of the West End cast, though, to transfer to Broadway with the production. He’s joined at the August Wilson by Gayle Rankin as Sally Bowles, Ato Blankson-Wood as Clifford Bradshaw, Bebe Neuwirth as Fraulein Schneider, and Steven Skybell as Herr Schultz. And both Rankin and Redmayne have been Tony nominated for their performances; the show picked up nine nominations total, including Best Revival of a Musical.

“It’s been such a unique experience because it’s been starting anew and fresh whilst at the same time, having this character sitting in my stomach and ruminating for three years now. And my journey, of the relationship with the character, has been one that stems from, oh gosh, almost 30 years now from when I first played it when I was a schoolboy,” says Redmayne. “There is great joy that comes from that—from each time getting to re-mine the character and re-look at it in a different context and with a different inspiration.”

When Playbill spoke with Redmayne, the company was still in rehearsals for the Broadway mounting. As part of his continuing exploration of the Emcee, the actor had just revisited one of his favorite New York museums, the Neue Galerie of German and Austrian art on Manhattan’s Upper East Side. 

“I was looking at some of the Schiele paintings there and reminding myself of how, when I first started looking into the idea of The Emcee, just having portfolios of Schiele prints everywhere. That was one of the ways in. It was a lovely moment to reconnect and reinspire in the museum.” It is easy to spot the influence of the Austrian Expressionist painter Egon Schiele in the angles of Redmayne’s body as he looks over a shoulder, crooks an arm, or snarls a bit, daring an audience to come a little closer.

The original source material for Cabaret is the 1939 Christopher Isherwood novel Goodbye to Berlin. It was inspired by his own life during the Weimar Republic when the freedom of the Jazz Age was clashing with the rise of Nazism and fascism. The Emcee, though, is not a character in the novel, nor in the play adaption I Am a Camera. He was created solely for Cabaret and does not exist in any of the scenes outside of the Kit Kat Club. The lack of story for The Emcee has allowed Redmayne to create a character almost entirely from scratch.

“He exists almost in abstraction for me. The character is almost like a Greek chorus. He’s sort of the Shakespearean fool. The court jester who then becomes the king,” says Redmayne. “He can assimilate and accumulate people from every walk of life and community, and can seemingly either celebrate or exploit that. As the world is becoming more homogenized and fascism is kicking in, he can shape-shift his way out of it, and he’s going to be just fine. He has the privilege of that. There’s a nihilism, ultimately, to my take on The Emcee that felt important. He’s not the victim. He's the perpetrator".

Cabaret first premiered on Broadway in 1966 and this production is the musical’s fourth revival. Except for the 1970s (when it was adapted for film starring Liza Minnelli), it has been on Broadway at some point in every decade since that first run. “There’s always been this relevance culturally, and that’s terrifying, because it basically sings as a warning to our incapacity to learn from our mistakes,” says Redmayne. “It’s about what happens when humanity is consumed by hate. And the idea of the creation of the other and the exploitation of the other to instill fear.”

Arguably, the musical’s draw has always also been as much about how it presents that message as the relevance of the message itself. The Kit Kat Club is seedy and seductive. It feels naughty…like you’re getting away with something you shouldn’t. And this new production pushes that element far beyond the footlights of a stage. Club, scenic, and costume designer Tom Scutt has reformed the August Wilson Theatre, creating spaces in the house and in the bar for a Prologue company to perform. Audiences are encouraged to arrive early to take in the music and dance cabaret acts prior to Cabaret.

Redmayne is reminded again of his museum visit: “When I was at the Neue Galerie, there was an exhibition on [Gustav] Klimt. This idea that this group of artists in Austria at the time, and then in Germany, were trying to create this world which was all-consuming. It wasn’t just the painting, it was also the specific space in the gallery…you were not just looking at the painting but the entire experience around it. I feel like that is, perhaps, the dream of what we’re trying to do. Once you leave the sidewalk and cross the threshold [into the theatre], you’re being taken on a journey that’s all encompassing.”

Boris Aronson’s original set design for the 1966 production of Cabaret featured a large mirror above the stage, tilted toward the audience so that they could see themselves reflected at both the beginning and end of the musical. Scutt has created a fully in-the-round stage at the Wilson. 

So while the audience is watching the action on stage, they will also be seeing other audience members’ reaction to the story. “There’s complicity in that,” says Redmayne. “We’re all there laughing and engaging in an evening of entertainment, but also seeing ourselves in some of the elements—the joyful qualities of humanity and the scarier qualities, too.”

[eddie-redmayne-italian-blog]

SPECIAL FEATURESEddie Redmayne First Played the Cabaret's Emcee in School, Now He's Doing It on Broadway

The actor is newly Tony nominated for his nihilistic take on the iconic character.

BY TALAURA HARMS MAY 10, 2024

Eddie Redmayne is gathering tips. As the Tony and Oscar-winning actor was opening a Broadway musical this season, he was also trying to figure out the best ways to navigate New York City for the six months that he’ll be in the show. His wife and two young children have joined him from London. They’re currently looking for ways to spend summer in the city. And speaking of summer, Redmayne is concerned about keeping his voice in good working order in a city with more air conditioning than he’s accustomed to having.

“I’m accumulating a little handbook of ‘The Survivor’s Guide to Broadway,” Redmayne laughs. “I’m a passionate lover of New York, so any excuse to come here…I’m thrilled.”

The excuse—and it’s a pretty good one—is Cabaret at the Kit Kat Club, which opened April 21 at the August Wilson Theatre. Redmayne reprises his role as The Emcee in the revival of the classic John Kander, Fred Ebb, and Joe Masteroff musical. Rebecca Fracknell directs the production, a West End transfer that won seven 2022 Olivier Awards, including one for Redmayne’s performance. The production has been a hit in the London, where it is currently still running.

Redmayne is the only member of the West End cast, though, to transfer to Broadway with the production. He’s joined at the August Wilson by Gayle Rankin as Sally Bowles, Ato Blankson-Wood as Clifford Bradshaw, Bebe Neuwirth as Fraulein Schneider, and Steven Skybell as Herr Schultz. And both Rankin and Redmayne have been Tony nominated for their performances; the show picked up nine nominations total, including Best Revival of a Musical.

“It’s been such a unique experience because it’s been starting anew and fresh whilst at the same time, having this character sitting in my stomach and ruminating for three years now. And my journey, of the relationship with the character, has been one that stems from, oh gosh, almost 30 years now from when I first played it when I was a schoolboy,” says Redmayne. “There is great joy that comes from that—from each time getting to re-mine the character and re-look at it in a different context and with a different inspiration.”

When Playbill spoke with Redmayne, the company was still in rehearsals for the Broadway mounting. As part of his continuing exploration of the Emcee, the actor had just revisited one of his favorite New York museums, the Neue Galerie of German and Austrian art on Manhattan’s Upper East Side. 

“I was looking at some of the Schiele paintings there and reminding myself of how, when I first started looking into the idea of The Emcee, just having portfolios of Schiele prints everywhere. That was one of the ways in. It was a lovely moment to reconnect and reinspire in the museum.” It is easy to spot the influence of the Austrian Expressionist painter Egon Schiele in the angles of Redmayne’s body as he looks over a shoulder, crooks an arm, or snarls a bit, daring an audience to come a little closer.

The original source material for Cabaret is the 1939 Christopher Isherwood novel Goodbye to Berlin. It was inspired by his own life during the Weimar Republic when the freedom of the Jazz Age was clashing with the rise of Nazism and fascism. The Emcee, though, is not a character in the novel, nor in the play adaption I Am a Camera. He was created solely for Cabaret and does not exist in any of the scenes outside of the Kit Kat Club. The lack of story for The Emcee has allowed Redmayne to create a character almost entirely from scratch.

“He exists almost in abstraction for me. The character is almost like a Greek chorus. He’s sort of the Shakespearean fool. The court jester who then becomes the king,” says Redmayne. “He can assimilate and accumulate people from every walk of life and community, and can seemingly either celebrate or exploit that. As the world is becoming more homogenized and fascism is kicking in, he can shape-shift his way out of it, and he’s going to be just fine. He has the privilege of that. There’s a nihilism, ultimately, to my take on The Emcee that felt important. He’s not the victim. He's the perpetrator.”

Cabaret first premiered on Broadway in 1966 and this production is the musical’s fourth revival. Except for the 1970s (when it was adapted for film starring Liza Minnelli), it has been on Broadway at some point in every decade since that first run. “There’s always been this relevance culturally, and that’s terrifying, because it basically sings as a warning to our incapacity to learn from our mistakes,” says Redmayne. “It’s about what happens when humanity is consumed by hate. And the idea of the creation of the other and the exploitation of the other to instill fear.”

Arguably, the musical’s draw has always also been as much about how it presents that message as the relevance of the message itself. The Kit Kat Club is seedy and seductive. It feels naughty…like you’re getting away with something you shouldn’t. And this new production pushes that element far beyond the footlights of a stage. Club, scenic, and costume designer Tom Scutt has reformed the August Wilson Theatre, creating spaces in the house and in the bar for a Prologue company to perform. Audiences are encouraged to arrive early to take in the music and dance cabaret acts prior to Cabaret.

Redmayne is reminded again of his museum visit: “When I was at the Neue Galerie, there was an exhibition on [Gustav] Klimt. This idea that this group of artists in Austria at the time, and then in Germany, were trying to create this world which was all-consuming. It wasn’t just the painting, it was also the specific space in the gallery…you were not just looking at the painting but the entire experience around it. I feel like that is, perhaps, the dream of what we’re trying to do. Once you leave the sidewalk and cross the threshold [into the theatre], you’re being taken on a journey that’s all encompassing.”

Boris Aronson’s original set design for the 1966 production of Cabaret featured a large mirror above the stage, tilted toward the audience so that they could see themselves reflected at both the beginning and end of the musical. Scutt has created a fully in-the-round stage at the Wilson. 

So while the audience is watching the action on stage, they will also be seeing other audience members’ reaction to the story. “There’s complicity in that,” says Redmayne. “We’re all there laughing and engaging in an evening of entertainment, but also seeing ourselves in some of the elements—the joyful qualities of humanity and the scarier qualities, too.”

Photographer : Heather Gershonowitz

https://playbill.com/article/eddie-redmayne-first-played-the-cabarets-emcee-in-school-now-hes-doing-it-on-broadw

[broadwaydivastournament]

Broadway Divas Tournament: Round 4

It's been a little too relaxed around here these last few weeks. Very few wars, very few vicious fights among Diva fans. So. We're back to where we began with Bernadette vs. Patti and now Lea Salonga in the pit. If Lea hasn't been tossed back in after losing to Christine Baranski Round One, I'm confident my beloved Kelli O'Hara would have made it to Round 4 (and then been summarily eviscerated by Bernadette). So, to avenge my darling blonde soprano (a dying breed), here she is boys, here she is world, here's Patti.

Seven-time Tony nominee, two-time winner Bernadette Peters (1948) has a sixty-plus year stage career of monumental proportions. Considered the foremost Sondheim interpreter, their collaborative works include Sunday in the Park with George (1984), Into the Woods (1987), Gypsy (2003), and Follies (2011). She has a thriving concert career, and was a co-founder of the beloved Broadway Barks event each year in Shubert Alley. She has an honorary third Tony (Isabelle Stevenson Award) for her outstanding advocacy and philanthropy.

Lea Salonga (1971) made history in 1991 as the first Asian performer to ever win Best Leading Actress in a Musical for Miss Saigon. She was just twenty years old at the time, the second youngest, and now all these years later, she qualifies for our MILF tournament. Lea has starred in six Broadway shows including Les Miserables (as first Eponine and then later Fantine), Once On This Island (2017), and most recently a brief stint in Here Lies Love (2023). She is also the singing voice for Disney's Mulan.

Eight-time Tony nominee, three-time winner Patti LuPone (1949) has a staggering fifty-plus year stage career. Award-winning roles include Eva Peron in Evita (1979), Gypsy (2008), and Company (2022). She has toured the US with her wildly successful concert and cabaret acts, and will kill you on sight if she sees a cell phone in the theatre. Patti was NOT Norma Desmond on Broadway, and because of it, is the proud owner of the ALW Memorial Pool. She is no longer a member of Actors' Equity. Despite that, she will reportedly be back on Broadway next season in a straight play.

NEW PROPAGANDA AND MEDIA UNDER CUT: ALL POLLS HERE

"Time to prove that this is the Bernadette Peters website. Let's go, lesbians, let's go."

"She may have had a second chance at winning, but we've got to make things fair. Let's see how she does up against not one, but two of Broadway's biggest Divas."

"Just like her Broadway career, Patti LuPone rises from the dead. She's just here for the extra chaos, and I cannot wait to see the results."